Finnish Society

Call for participants: “Field_Notes – Deep Time”, 15th – 24th September 2013, Kilpisjärvi Biological Station, Lapland/Finland

This post comes to you from Cultura21

sanaa-1024x768“Field_Notes – Deep Time” is a week long art&science field laboratory organized by the Finnish Society of Bioart at the Kilpisjärvi Biological Station in Lapland/Finland. Five working groups, hosted by Oron Catts, Antero Kare, Leena Valkeapaa, Tere Vaden, Elisabeth Ellsworth and Jamie Kruse, together with a team of five, will develop, test and evaluate specific interdisciplinary approaches in relation to the “Deep Time” theme.

“Field_Notes – Deep Time” is in search of artistic and scientific responses to the dichotomy between human time-perception and comprehension, and the time of biological, environmental, and geological processes in which we are embedded. The local sub-Arctic nature, ecology, and geology, as well as the scientific environment and infrastructure of the Kilpisjärvi Biological Station will act as a catalyst for the work carried out.

Dates and places:

15th – 22nd September 2013, field laboratory at the Kilpisjärvi
Biological Station
23rd, 24th of September 2013, conference in Helsinki

Application process:

The organizers are looking for 25 artists, scientists and practitioners, who are interested to develop, collaborate and work in one of the below mentioned groups.

Application including CV, group preference and a max A4 letter of motivation and/or direction of possible Field_Notes research/contribution are to be sent to erich [dot] berger [at] bioartsociety [dot] fi

Application deadline: 31st of Mai 2013

The organizers welcome artists, scientists and practitioners from different fields to apply. They will pay for the journey from Helsinki to Kilpisjärvi and back, as well as for full board and accommodation at the Kilpisjärvi Biological
Station for the whole working week. Participants from outside of Finland have to take care of their travel to Helsinki and possible necessary accommodation in Helsinki themselves.

Groups, hosts and fields:

During one week the five groups will approach the “Deep Time” theme from different angles. They will organize themselves in work groups, think tanks, and workshops. They will carry out their work in their related field environment, as well as have common activities of lectures, presentations and feedback sessions. Expected results include abstracts, collaborations, data, documentation, future workshops, hard an software, ideas, knowledge, photos, presentations, prototypes, skills, sounds, projects, videos and more. The languages used are Finnish and English.

The five groups are:

* Journey to the Post-Anthropogenic
hosted by Oron Catts, takes place in the sub-Arctic nature, in the lab, and in the study

* Deep Futures in the Making
hosted by Elizabeth Ellsworth and Jamie Kruse, takes place in the sub-Arctic nature and in the study

* Deep Time of Life and Art
hosted by Antero Kare, takes place within the sub-Arctic geology of bedrock, sediments and caves, the lab and the study

* Time and Landscape
hosted by Leena Valkeapää, takes place in the sub-Arctic landscape, amongst reindeer and the Sami culture

* Second Order
hosted by Tere Vaden, takes place amongst the working groups and in the study

More information at: http://bioartsociety.fi/deep_time/  or contact erich [dot] berger [at] bioartsociety [dot] fi

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Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
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Ars Bioarctica Residency 2013

This post comes to you from EcoArtScotland

ars-bioarctica-residencyShared from Yasmin announcement – Call for applications

Ars Bioarctica Residency 2013 – application deadline 6.4.2013

Since 2010 the Finnish Society of Bioart is organizing the ARS BIOARCTICA RESIDENCY PROGRAM together with the Kilpisjärvi Biological Station of the University of Helsinki in the sub-Arctic Lapland.

The residency takes place in the facilities of the Kilpisjärvi Biological Station. It provides the residents with a combined living and working environment, a basic laboratory, internet connection and sauna.

The Kilpisjärvi Biological Station offers to the residents the same possibilities and infrastructure as its scientists and staff. This includes access to scientific equipment, laboratory facilities, the library and seminar room as well as the usage of field equipment. A dedicated contact person in Kilpisjärvi will familiarize residents with the local environment and customs.

The emphasis of the residency is on the Arctic environment, art&science collaboration and is open for artists, scientists and interdisciplinary research teams.

Applications have to include:

  • a biography and CV of the applicant or group
  • a work plan
  • the desired residency starting time and duration

Travel to and within Finland to Kilpisjärvi have to be covered by the applicant. The Finnish Society of Bioart will assist with the funding process.

The evaluation of the applications emphasizes the quality of the proposal, its interaction of art&science, its artistic and scientific significance, the projects relation to the thematics of Ars Bioarctica and its feasibility to be carried out at the Kilpisjärvi Biological Station in the given time.

Send applications or questions to Erich Berger erich.berger@bioartsociety.fi

We accept applications throughout the year but if you want to be included in the summer/fall schedule for 2013, please send your applications until 6.4.2013

More information:

Residency website: http://bioartsociety.fi/ars-bioarctica-residency/

Blog by previous residents: http://www.bioartsociety.fi/residency/

The Kilpisjärvi Biological station: http://www.helsinki.fi/kilpis/english/index.htm 

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
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Aesthetics, Art, and Politics at University of Helsinki

Finnish Society for Aesthetics
PO Box 4, FIN-0 0 0 1 4 UNIVERSITY OF HELSINKI
www.estetiikka.fi

“Aesthetics, Art, and Politics,” 6.5.-7.5.2010, University of Helsinki

The Finnish Society for Aesthetics together with the research project Artification and its Impact on Art (http://www.artification.fi/) will arrange a two-day seminar on the theme “Aesthetics, Art, and Politics” from the 6th of May to the 7th of May 2010 at the University of Helsinki. The keynote speaker of the seminar is Professor Aleš Erjavec (Slovenia).

Significant connections between aesthetics, art, and politics continue to exist in the new millennium. However, alongside traditional questions about art’s relationship to politics and the political aspects of aesthetic phenomena, a new set of issues has gradually arisen which are as much a
result of changes occurring in aesthetics and art as they are a result of changes that have recently shaped politics. The criticism that different traditions of contemporary aesthetics have aimed against the idea of “pure aesthetics,” i.e., an aesthetics severed from political considerations, has been widely accepted. But what is the position of aesthetic theories which emphasize the social function of art and aesthetics today? Do the main traditions of contemporary aesthetics any longer manage to account for the current forms that the relationship between aesthetics, art, and politics takes or are novel approaches required for analyzing those connections?

Many other social practices besides art are to a growing extent characterized by features which have traditionally been associated primarily with art. What sorts of aesthetic and political consequences could this process known as “artification” involve? What are the effects of this development, for
example, to the alleged autonomous nature of art or is this supposition a mere fallacy anyway? Different artistic traditions and movements embody different kinds of ideologies. How should one understand the relationship between art and politics in a world where faith in the impact of politics is
increasingly diminishing? Changes of approach in recent art research also provide a new outlook on the theme of the seminar. Do the different research approaches articulate specific views of the connection between aesthetics and politics and what sorts of political underpinnings, if any, could these approaches themselves involve?